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Great God Aʼmighty! The Dixie HummingbirdsCelebrating the Rise of Soul Gospel Music$
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Jerry Zolten

Print publication date: 2003

Print ISBN-13: 9780195152722

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195152722.001.0001

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“My Record Will Be There” (1950–1951)

“My Record Will Be There” (1950–1951)

Chapter:
(p.155) 6 “My Record Will Be There” (1950–1951)
Source:
Great God Aʼmighty! The Dixie Hummingbirds
Author(s):

Jerry Zolten

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195152722.003.0006

The early 1950s were exciting times for gospel and for African American musical performers of all kinds. Record sales were healthy. Radio stations were spreading the music beyond color lines. Artists like Nat Cole, Louis Armstrong, Ella Fitzgerald, Lionel Hampton, and Louis Jordan were enjoying crossover appeal like never before. At the same time, African Americans were gaining power as consumers of entertainment. In 1951, Columbia Records revived their Okeh imprint, a subsidiary that had been dormant for a number of years. Picked to head the new subsidiary, Danny Kessler, in charge of Columbia's fledgling R&B department at the time, would ultimately record gospel as well as R&B sides. Kessler's gospel signings included the R. S. B. Gospel Singers, Brother Rodney, the Bailey Gospel Singers-and most important, the Dixie Hummingbirds.

Keywords:   Dixie Hummingbirds, African American musicians, black gospel music, Okeh, recordings

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